Film distribution as policy: current standards and alternatives

Much recent scholarship has identified an urgent need to address distribution opportunities for Australian cinema in a digital age. In trying to understand why Australian film policy has been beleaguered by complacency for distribution, this paper looks abroad to see what precedents and attitudes exist in distribution-related cultural policy. Why hasn’t support for distribution and exhibition been the touchstone of cultural policy for national cinemas? Why has policy support for the production sector prevailed, when distribution is the film industry’s key zone for profit? This paper surveys international policy examples of what governments are doing beyond the production realm. It examines legal interventions into the distribution realm, including direct state measures such as subsidies, levies, quotas and import restrictions, indirect state aid, and cultural initiatives by film funding bodies that stimulate audience engagement in the distribution and exhibition sectors. The paper combines these primary sources of film policy information with film historians’ accounts to provide a comparative analysis of national film distribution policies. It then examines the politics underlying the various policy frameworks, before mapping out an alternative strategy for the future of policy in Australia that is equipped to deal with the huge changes in digitalisation.     

Vicarious passions: the private life of Hollywood stars in 1950s Portuguese magazines

ABSTRACT

Life in Hollywood in the 1950s seemed completely at odds with the moral foundations of authoritarian Portugal. By looking at the coverage of the lives of Hollywood stars in Portuguese magazines, however, it is possible to imagine how a conservative society could be exposed to changing values. Readers became acquainted with the period’s most famous cases of divorce. Divorce was at first seen as unacceptable, but the continuous news on the lives of famous people produced a strange impact on the Portuguese public sphere: the end of marriage became familiar and even acceptable in some circumstances. The article disentangles this paradox, by treating magazines as a mediated social actor. The foreign origin of the news may have led readers to assume that divorce was a distant phenomenon. Simultaneously, the social circulation of magazines permeated the everyday with subversive ideas. Magazines thus constitute a decisive source for exploring how North American cultural forms work through the fabric of foreign societies. Imagining the impact of Hollywood in Portugal through the mediation of magazines allows us to identify forms of social change evolving in an apparently uneventful decade, and to grasp the contribution of feelings and attitudes in historical transformation.     

Film policy under globalization: the case of Mexico

The changing economic and technological conditions often referred to as ‘globalization’ have had a deep impact on the very nature of the state, and thus on the aims, objectives and implementation of cultural policy, including film policy. In this paper, I discuss the main changes in film policy there have been in Mexico, comparing the time when the welfare state regarded cinema as crucial to the construction of national identity, and actively supported national cinema at the production, distribution and exhibition levels (about 1920–1980), and the recent onset of neoliberal policies, during which the industry was privatized and globalized. I argue that the result has been a transformation of film production, from the properly ‘national’ cinema it was during the welfare state – that is, having a role in nation building, democratization processes and being an important part of the public sphere – into a kind of genre, catering to a very small niche audience both domestically and internationally. However, exhibition and digital distribution have been strengthened, perhaps pointing towards a more meaningful post-national cinema.     

Researchers,bureaucrats and the lifeworlds of cultural policy

This paper reflects on the value of cultural policy research, particularly when such research forms part of projects that seek to produce insights or ‘outcomes’ that are useful to non-university research partners. The paper draws from the author’s involvement in a project examining cultural diversity in the arts that was funded as part of the Australian Research Council’s Linkage Project scheme. It addresses Eleonora Belfiore’s provocation that this kind of instrumental cultural policy research routinely amounts to ‘bullshit.’ However, in order to understand the critical function of such research, there needs to be greater attention to the lifeworlds of cultural policy and the multiplicity of the policy-making process. This multiplicity both complicates the possibilities for usefulness in policy research, at the same time that it enables such research to be generative in unpredictable ways.     

Partisanship,policy entrepreneurs and the market for ideas: what we can learn from policy failure

ABSTRACT

The Office of Living Victoria (OLV), was established in 2011 by the then Liberal-National Party Coalition Government. It was created in response to a water crisis and intended to revolutionise water management and delivery, challenging established authorities and practices consolidated under the previous Labor government in Victoria. There was a decidedly partisan motivation for its conception. The drive for new ideas and innovation created opportunities for policy entrepreneurs who won the competition against more conventional research advocacy, and determined the agenda of the new agency, in the process curbing an existing policy network. Yet within a short period, this initiative was mired in scandal, and ended in 2014 having failed to achieve its purposes. This article explores this instance of policy failure, assessing the policy trajectory of the OLV in relation to the concepts of partisanship, policy entrepreneurship, and policy networks.     

Living with Hollywood: British film policy and the definition of ‘nationality’

Focusing upon how a ‘national’ film has been historically defined in Britain, this article traces the history of legal definitions of a ‘British’ film and identifies some of the issues around nationality that these have raised. The article begins with a discussion of the introduction of quotas for ‘British’ films in the 1920s and the adoption of the Eady levy as a means of providing production finance to ‘British’ films in the post-war period. It then goes on to examine the introduction, in response to EU regulations governing the film industry, of a ‘Cultural Test’ for ‘British film’ in 2007 and to consider the way in which eligibility for tax reliefs has depended upon a film qualifying as ‘British’. In assessing whether the Cultural Test may be regarded as constituting a ‘break’ in British film policy in terms of a shift from economic to cultural objectives, the article not only indicates the manner in which cultural and economic objectives have been brought into alignment but also identifies how the definition of the ‘national’ for the purposes of tax relief has been designed to encourage ‘transnational’ Hollywood production within the UK. In doing so, the article also indicates how ‘national’ discourses and practices have continued to inform and structure the economic and cultural dynamics of contemporary ‘British’ cinema as well as engaging with, rather than necessarily standing in opposition to, ‘transnational’ and globalising trends.     

Cultural globalization and the dominance of the American film industry: cultural policies,national film industries,and transnational film

The global film market is a strategic site for examining the global influence of American media culture. Using a database compiled by the European Audiovisual Observatory, I show that the global film market consists of 34 countries that produce over 25 films per year. Thirty-two countries produce less than 26 films. The countries that produce over 25 films per year were categorized as Super Producers (four countries), Major Producers (seven countries), Medium Producers (11 countries), and Minor Producers (12 countries). Lists of top 10 films in these countries show that US films dominate, followed by local films. A discussion of national cultural policies shows that film policy contributes to the success of national film industries but does not enable them to challenge US dominance. Hollywood’s need for global box office receipts has led to changes in the content of Hollywood film toward deculturized, transnational films, a trend that is also evident in other countries.     

Creating the cultures of the future: cultural strategy,policy and institutions in Gramsci

Gramsci’s writings have rarely been discussed and used systematically by scholars in cultural policy studies, despite the fact that in cultural studies, from which the field emerged, Gramsci had been a major source of theoretical concepts. Cultural policy studies were, in fact, theorised as an anti-Gramscian project between the late 1980s and the early 1990s, when a group of scholars based in Australia advocated a major political and theoretical reorientation of cultural studies away from hegemony theory and radical politicisation, and towards reformist–technocratic engagement with the policy concerns of contemporary government and business. Their criticism of the ‘Gramscian tradition’ as inadequate for the study of cultural policy and institutions has remained largely unexamined in any detail for almost 20 years and seems to have had a significant role in the subsequent neglect of Gramsci’s contribution in this area of study. This essay, consisting of three parts, is an attempt to challenge such criticism and provide an analysis of Gramsci’s writings, with the aim of proposing a more systematic contribution of Gramsci’s work to the theoretical development of cultural policy studies. In Part I, I question the use of the notion of ‘Gramscian tradition’ made by its critics, and challenge the claim that it was inadequate for the study of cultural policy and institutions. In Parts II and III, I consider Gramsci’s specific writings on questions of cultural strategy, policy and institutions, which have so far been overlooked by scholars, arguing that they provide further analytical insights to those offered by his more general concepts. More specifically, in Part II, I consider Gramsci’s pre-prison writings and political practice in relation to questions of cultural strategy and institutions. I argue that the analysis of these early texts, which were written in the years in which Gramsci was active in party organisation and leadership, is fundamental not only for understanding the nature of Gramsci’s early and continued involvement with questions of cultural strategy and institutions, but also as a key for deciphering and interpreting cultural policy themes that he later developed in the prison notebooks, and which originated in earlier debates. Finally, in Part III, I carry out a detailed analysis of Gramsci’s prison notes on questions of cultural strategy, policy and institutions, which enrich the theoretical underpinnings for critical frameworks of analysis as well as for radical practices of cultural strategy, cultural policy-making and cultural organisation. I then answer the question of whether Gramsci’s insights amount to a theory of cultural policy.     

Governance,public policy and boundary-making

This symposium draws attention to innovative and emerging research in Australian public policy exploring the interplay of governance, public policy and boundary-making. Conceptually and substantively, boundaries are fundamental to understanding policy outcomes, yet remain overlooked and undertheorised. We aim to contribute to public policy debates, in Australia and beyond, by provoking further reflection on this theme, in particular, the distributive effects of boundaries in policy-making; the blurring of boundaries implicit to governance frameworks; the crossing of boundaries, especially by policy-officials within and between institutions; the construction of boundaries to separate and marginalise; and the existence of temporal–spatial boundaries that demarcate jurisdiction and authority. In short, the study of governance and public policy-making is marked by multiple different types of boundaries but the way in which boundaries get drawn and redrawn is also suffuse with political contestation meaning they raise crucial questions about the exercise of power.     

Introduction: film policy in a globalised cultural economy

This special issue on ‘Film Policy in a Globalised Cultural Economy’ is devoted to the changing economic and technological context in which filmmaking occurs, the policy responses that these changes have generated and their consequences for the pursuit of cultural objectives. The issue offers discussions of the general economic, technological and political shifts shaping the global film industry as well as case-studies examining the specific policies adopted by different states. While these indicate how governments have been obliged to respond to the economic and technological changes wrought by globalisation they also highlight the variations in approach to film policy and the continuation of tensions between economic and cultural, and public and private, objectives.     

Cultural policy archetypes: the bathwater and the baby

ABSTRACT

Cultural policy archetypes have been fundamental to comparative cultural policy study and continue to be influential in both everyday and scholarly characterizations of national cultural policy systems. This paper explores the proposition that cultural policy archetypes reflect what people believe to be true about culture – their cultural ideologies. Cultural ideologies are integral to the formation of cultural policy and, thus, must be considered in any theory that hopes to measure the extent to which and explain why cultural policies differ. Cultural ideologies embody ideas about why culture is important and how it should be governed. Those ideologies spotlight certain administrative mechanisms, overemphasizing their role in systems that actually are deeply administratively hybrid. This makes archetypes poor tools for analyzing the mechanisms of cultural policy; however, because archetypes tell us about cultural ideologies in straightforward and powerful ways, it is essential that they continue to be a part of comparative cultural policy study.     

Protection,survival and growth: an analysis of international policy documents

This paper reports findings from the analysis of three international policy documents produced by a department of the UK Government, a leading British cultural organisation and a national arts development agency. The analysis takes an unorthodox stance, proposing that the international strategies are rationales for the self-protection, survival and growth of the government department, agency and museum, as opposed to the operational action plans that they first appear or are assumed to be. As such, they bear little relationship to formal policy and should be viewed as organisational stratagems. This research raises a number of questions about the nature, purpose and impact of policy and its making. Calling for a rethinking of key concepts within the field, this article returns to the fundamentals by asking what we mean by cultural policy and how we conceptualise and study it empirically.     

Presumption,policy and practice

This article aims to analyse the basis for the construction of current policy designed to use museums and galleries as agents of social inclusion in Great Britain. It does this by first analysing their social role and their historical contribution to social policy. The article then goes on to present the findings of a research project that compared the rhetoric surrounding this issue with practice. It concludes that a series of issues are preventing the successful construction and implementation of policy. These are: a lack of policy coherence across different parts of the British Government; an inability to successfully measure social impact; a lack of institutional clarity about how to respond to policy guidance; and a lack of understanding about what constitutes social exclusion. The final and most significant difficulty is the lack of clarity about what can be expected from museums and galleries in this respect. The underlying question of how they function in society remains largely unanswered and means that policy is not based upon firm foundations.     

Path dependence,policy learning and Australian manufacturing since the 1970s

The impending demise of passenger motor vehicle manufacturing in Australia provides a good opportunity to view the trajectory of industry policy since the Whitlam government commenced the process of tariff cuts in 1973. It is argued that industry policy over this period demonstrates the effects of path dependence and a lack of policy learning. In the industry policy context, the path dependence perspective suggests three key factors in explaining policy effects: the importance of initial conditions; the role of cumulative causation in the interaction between policy settings, actors and firms; and the shaping role of networks. While political or electoral factors could, on occasion, generate support for threatened industries, overall, neo-liberal policy ideas guided decision-making. An examination of Australian defence industry, and a comparison of the Australian and New Zealand dairy and milk processing industries reinforces the importance of institutionally shaped path dependency.     

Citizen participation,community resilience and crisis-management policy

This article presents two arguments. The first relates to the relevance of citizen participation vis-à-vis the design and implementation of public policy. More specifically, the article empirically demonstrates how a model of community decentralisation can have a number of practical benefits for crisis-management policy. The second argument relates to a question that has come to characterise studies of citizen participation in public policy. Why is it that there is so much rhetoric in support of participation but so little action in terms of the day-to-day realities of policy implementation? We place this question in a crisis-management context so that we might ask: why is it that crisis-management systems built around the principles of community resilience continue to fail on these very grounds? We find our answer to this question in state-centric governance settings which devolve authority, but do not relinquish it.

本文提出两个观点。第一个观点涉及公民参与对于公共政策设计和实施的意义。具体地说,本文用实证的方法说明社区分权模式如何对危机管理政策产生一系列实际效益。第二个观点涉及公民参与公共政策的问题：为什么对公民参与口头上不吝支持,而日常政策的实施上却不见动静？这个问题可以放在危机管理的语境中重新提问：为什么围绕着社区弹性原则的危机管理体系仍以这样的理由失效？我们的答案是：以政府为中心的治理环境虽然转移但并未放弃权威。     

Cultural policy as development policy: evidence from the United States

Cultural policies and cultural projects in the United States have been reframed to emphasize their economic benefits to cities. New alliances between arts advocates and place promoters are apparent at all levels, but are most prominent locally. These new alliances are facilitated by the changing interests of local officials and business people, who have come to believe there is economic value in the arts and of arts administrators, for whom attracting broader public support has become imperative. In some cities, entirely new organizational structures have sprung up to plan and implement projects that serve cultural and economic development advocates simultaneously. Such new institutions are most prominent in more economically disadvantaged cities.     

EU media policy and/as cultural policy: economic and cultural tensions in MEDIA 2007

This article is an examination of the cultural and economic tensions that arise in the formulation and implementation of media policy in the European Union. Through an analysis of the MEDIA 2007 MEDIA Desk Germany. 2007. Interview with Aviva Silver, head of the MEDIA Programme, European Commission carried out by MEDIA Desk Germany in preparation of the Programme launch at Berlinale 2007 [online] Available from: http://www.mediadesk.co.uk/usr/images/news_images/interview_with_aviva_on_media_2007.doc [Accessed 17 May 2010] [Google Scholar] program, the authors investigate how the priorities of cultural policy and media policy interact and conflict. EU policy goals from the mid‐2000s onwards have emphasized attention to the economic potential of the creative and cultural industries, which complicates the cultural potential of audiovisual media. MEDIA 2007 MEDIA Desk Germany. 2007. Interview with Aviva Silver, head of the MEDIA Programme, European Commission carried out by MEDIA Desk Germany in preparation of the Programme launch at Berlinale 2007 [online] Available from: http://www.mediadesk.co.uk/usr/images/news_images/interview_with_aviva_on_media_2007.doc [Accessed 17 May 2010] [Google Scholar] in particular demonstrates these tensions, as the design of this policy mechanism emphasized audiovisual media’s potential for European economic growth as a precondition for achieving cultural objectives.     

Settler colonialism and cultural policy: the colonial foundations and refoundations of Canadian cultural policy

This article aims to reintegrate the colonial history of Canada as part of the grids of analysis for understanding the evolution of its Federal cultural policy. Building on the notion of settler colonialism and its implication for Indigenous population (For the purposes of this paper, the term ‘Indigenous’ is used in place of, perhaps, more popular or familiar terms – such as ‘Aboriginal’ or ‘Native’ – in order to remain consistent with current Indigenous politics. In particular, some Indigenous scholars are reluctant to accept the label Aboriginal because they feel it is consistent with the colonial order imposed by the Canadian government [Alfred and Corntassel 2005, p. 599]). The term Indigenous also alludes to a global political awareness and to forms of alterity between different populations from North America, South America, Asia, and the Pacific. in Canada, this paper documents different transformations in cultural policy and illustrates some of its paradoxes and challenges. Building on principles developed by Indigenous scholars, this article highlights some of the components for decolonizing cultural policy in Canada. It is argued that a post-colonial cultural policy must build on the grounds of ethics (and ethos).     

Who governs culture? Actors,federalism and expertise in Swiss regional cultural policy

ABSTRACT

This article proposes a novel approach to cultural policies and cultural policy change, drawing on public policy and institutional analysis to study how decision-making power is distributed between actors in the public and private sectors and at different state levels, as well as the precise roles of public administrations, elected officials and cultural actors. Indeed, rather than directly defining cultural policy, laws on culture mostly designate actors in charge of policy implementation. Based on an empirical application of this analytical framework to the case of Swiss cantons and focusing specifically on the positions of cultural actors, findings show that cultural policies are transformed in different ways, affording more or less power to actors from the cultural sector in implementation arrangements generally dominated by administrative actors.     

Framing,agency and multiple streams– a case study of parks policy in the Northern Territory

ABSTRACT

There is increasing interest in the role of agency in policy processes for creating effective change. In this paper I explore the critical role of policy entrepreneurs in both creating and capitalising on windows of opportunity through creative framing of issues. I combine Kingdon’s multiple streams framework of the policy, problem and politics streams with the three types of social movement framing – diagnostic, prognostic and motivational – to analyse a case study of pragmatic and innovative policymaking in Australian Indigenous policy. I find that pragmatic policy entrepreneurs used framing to actively refine available policy solutions, particularly in response to structural barriers, and played an active role in brokering the problem in ways to make it politically acceptable. This confirms the importance of ideational processes, and the critical role of framing, in creating windows of opportunity for significant reform.